SCHWENKSVILLE — Music biz veteran Jon Goodman has decided to publish all submissions of songs and other audio delights for free.

Sound a little quirky?

Not when you realize that Goodman’s company, Dickie Goodman Productions LLC, was started by his dad, Dickie Goodman, who pioneered a sub-genre of novelty records in 1956 with his wacky hit “The Flying Saucer.”

The tune, released by Dickie Goodman and Bill Buchanan (credited as Buchanan and Goodman), was a patchwork of popular song clippings that year, intertwined with spoken “news” reporting that told the story of a flying saucer landing on earth.

Dickie Goodman was decades ahead of those who “sample” and re-purpose established works today.

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Although his biggest hit would come nearly 20 years later, with the million-selling “Mr. Jaws,” a parody of the movie “Jaws,” in 1975, it was “the Flying Saucer” a top-five Billboard hit, that helped launch the production company that Jon Goodman inherited when his dad passed away in 1989.

“As the owner of Dickie Goodman Productions LLC, I am able to publish my father’s oldies records and am also able to publish anything that is of an audio nature ... whether it is an audio book or a song or a comedy album,” explained Goodman, a New York native now living in Schwenksville. “I can publish on every download site on earth. You are probably familiar with the most common ones like iTunes and Amazon, and I have them, but there are thousands more I have also.”

This holiday season, Goodman said, he just suddenly had the inspiration to offer his services at no charge.

“While I make money by publishing records, I have decided to commit myself to an act of giving beyond anything I have ever done in my lifem,” he said. “I don’t think there is a single record company in existence that has ever done anything like this before.”

On his Luniverse label, Dickie Goodman had produced a number of successful early rock ’n’ roll hits, including the Del-Vikings’ “Come Go With Me.”

“Originally what I inherited from my father is intellectual property, an intangible, but I owned the rights to his records,” Goodman said. “He was also a songwriter, and because he had the success with the records he would write songs and produce other acts and publish other people on small record labels.”

Once he found himself overseeing this golden catalogue of tunes from the 1950s and ’60s, Goodman’s first endeavor in the late ’80s was to transfer everything to the new digital format of compact disc, he recalled.

“I had to establish myself to be viable in the music business by getting record companies to give me a record deal to put out my dad’s oldies on CD to keep them alive. I managed to do that eventually. And then everything changed again and now you had to be on iTunes in this digital world. The Internet had come along and I already managed to establish a presence for my dad there to keep things going and let radio DJs know the stuff was still out there,” added Goodman, who has appeared on Howard Stern’s radio show and authored a book about his father, “The King of Novelty.”

Featuring a foreword by Dr. Demento and epigraph by Weird Al Yankovic, the book is described by the publisher as a “revisionist epic for posterity of his father, legendary novelty artist and sampling pioneer Dickie Goodman, a man contending with internal conflict and familial obligations while entertaining the world.”

The ever-expanding possibilities of the digital age allowed Goodman to begin publishing the legacy all on his own terms.

“I wasn’t limited to getting a record deal to put out a CD of up to 20 tracks, but now I have the ability to publish everything my father has ever done,” he said. “As I was doing that it could occurred to me I can publish other people too. It can be anything — whether it’s a song, or audio book or comedy act.”

By extending his generous offer to the public, Goodman said he doesn’t really have anything to lose.

“If I publish a lot of people for free, I’ll be known for that,” he said. “I don’t judge or critique the work. I just send out a contract. If there’s any catch to this at all — in the music business as a publisher, you’re a member of a publisher’s organization that pays them their share regardless. So it doesn’t take anything from the artist. Whatever they sell on iTunes, I’m going to pay them the full percentage just like I promised. I still get something as a publisher, which they couldn’t get anyway because they are not a publisher. It’s just the way the music business is established. There are so many segments and entities of it that pays for things like sales and airplay.”

The bottom line, Goodman said, is that the artist in this case is not paying any fees or splitting their royalties with any record company, publisher or record label.

It is worth mentioning that back in 1956 the record companies behind the hits that Goodman clipped for “The Flying Saucer” — including Elvis Presley’s “Heartbreak Hotel,” “The Great Pretender” by the Platters, Chuck Berry’s “Maybelline,” Fats Domino’s “Ain’t That a Shame” and “See You Later Alligator” by Bill Haley & His Comets — sued Goodman but lost their case.

“He was sued by 17 labels in all, but the judge threw it out of court saying it wasn’t copyright infringement because he had created a new work,” Goodman said. “He did have to pay for the samples. So that made it legal then and for the type of music we have on the radio today sampling other people’s work.”

For more information, e-mail Jon Goodman at Jongoodman@dickiegoodman.com.